Process of reproducing pictures of art subjects



Jul 192 v 1635173 y 7 G. E. BUZZA PROCESS or'nnrnovucme PICTURAES OFIART SUBJECTS Filed Dec. v. 1925 zsheets-sneel I I": van for:

July 12, 1927. 1,635,173-

G. E. BUZZA PROCESS OF REPRODUCING PICTURES OF ART SUBJECTS Filed Dec. 7, 1925 2 Sheets-Sheet 2 IINIIIIIIIII HHIIINIIHIIIIIIIlllllllllllllflllll umnmugngmmamm v Patented July 12, 1927.

GEORGE E. BUZZA, OF MINNEAPOLIS, MINNESOTA.

PROCESS OF REPRODUCING PICTURES OF ART SUBJECTS.

Application filed December My invention relates to a'process of re: producing pictures and representations of;

art objects. It is the object of my process to reproduce in quantity and in the original color of the artist paintings and other art objects which shall have the appearance of I hand-brushed and colored art work, and to do this, even in large editions, as economically,

or even more economically than can be done with multi-colored printing.

In the practice of my process I apply a series of specially prepared stencils in' rotation to a print proof" or other reproduction' of the original painting or drawing in unicolor, i. e., black,- gray or neutral tone, the stencils being applied so that a single color washed through the openings of the stencil willreach the particular portions of the proof which are designed. to carry that 0 color. For each stencil, therefore, there is a special water color having distinct charac teristics which is applied over and through the stencil by means of brushes having distinctive characteristics. The proofs are also used as a base for cutting or preparing the several stencils, whereby the color effects are produced on the proof by successive application of each color made separately and individually through each, individual stencil,

the colors being applied in rotation from the lightest color to the darkest. In this manner exact reproductions of the colors appear ing on the original painting or drawing can be inade,.and not only that, but the colors will be applied upon the reproduction in such a way as to closely simulate handbrushing work. Also, colors and modifications of colors, can be used successfully by this process which cannot be applied by any so mechanical printing press or by any other" known non-artist color application process.

' In the printing operation the color is ap-- plied in the form of inks or water color pastes, which always must include certain ingredients that affect to some extent. the character of the color reproduction. Inks,

so-called, always include oil. This oil reacts upon the pigment either because 'ofsome slight modification of the pigment itself, or so because of color in the oil, andproduces a. distinct dulling of the color and diminution oil is not used, other forms of paste are neces- Tl JUL of the true color effect. gelatins sa-ry, with result that the color itself 5 as applied by printing never can be as pure and ascorrect in col-or effect aswith hand color 7, 1925. Serial no. 73,935.

work. In addition to this, the color in p "inting must be impressed upon the paper.

That is, the color is transferred from the certain kinds of art reproduction work, are

th-osewith rough surface, often even fuzzy in character. These surfaces are in nowise .injured or changed by the brushing in of color, and the color brushed in Will flow freely to allparts of such surfaces that are exposed. On the other hand, when the color is put on by pressure inprinting, first it may not be quickly applied to all parts of the roughened surface, and, second, the pressure by which the effort is made to get the color toall parts of the roughened surface has the effect of modifying or destroying.

that surface.

These disadvantages, wherein printed reproductions differ from handbrushed color reproductions to the detriment of the printed reproductions, are all overcome by my process, which,nevertheless, although a hand process, and in no sense a mechanical process, can be practiced with un-skilled labor, and, so, as economically (and indeed much more so where small editionsare employed) than color reproductions by, printing.

i'The process in its entirety really involves the-use of five-sets of steps: the preparation of the proof or print, which includes the formation, ofv the registering, sheets upon which the proof is printed and which are used both for the cutting of the stencils and the reception of the colors from the ste'ncils; (-5-) the preparation of the stencils (c) the preparation of the colors tobe used withthe stencils; (d)v the application of the stencils;

to the proof sheets; and (e) the'brushing in ofthe colorsas preparechwhich latter step includes as a feature the use of brushes es-.

the brushes employedv in. laying colors These figures are:

througln these stencils. illustrative only as the process may be practi-ced with av multitude of forms of art subjects and of stencils and the brushes vary somewhat according to the character of the stencils employed.

In these drawings, Fig. ori inal art subject as it print in unicolor ink. Fig. 2 represents one of the stencils which are employed. Figs. 3 to 6 inclusive represent the forms of brushes employed in connection with the 'work.

Preparation f the proo or print,

The proof or print is made in the usual way by photographing the art subject, preparing therefor a plate and taking impressions upon suitable sheets of paper as an important step in the practice of the process. However, these sheets of paper are preferably cut to exact size and all of them of the same size with true rectangularly-disposed edges and with the proof printed on all of the sheets in exactly the same relation to the edges thereof, that is, with identically the same margins around the edges of the proof. Obviously a single sheet may have thereon a multipllclty of proofs of the ame art object, or a multiplicity of proofs of different art objects. 1

Not only are the sheets accurately sized and cut with the edges rectangular, but it will. be advantageous to make in opposite corners, preferably the lower left-hand corner and the upper right-hand corner ofall of the sheets registering, markings of exactly the same size and in the same position in each sheet. l hese markings may be triangular, indicated at 10 in Fig. 1. Also the sheets may be punched to form circular holes through each sheet, as indicated at 11 in Fig. 1. The markings and the holes of the proof sheets, having the same fixed relation to the proof for each proof sheet, may be caused to register with similarly shaped and edged stencil sheets formed with openings similarly positioned on the stencil sheets to the markings, and openings on the proof sheets, so that the several sets of stencils when prepared as hereinafter described may alwa s be brought into the same relation to the proof for the brushing in of the colors.

Preparation of the stencils.

tangularly-disposed edges and having openings formed in opposite corners in the same position as the markings and holes of the proof sheets, so that when a stencil sheet is positioned with these holes in registering I position over the markings or holes of the proof sheet, the color openings in the stencil W1ll register with the appropriatepon tions of the proof. vFor certain classes of 1 represents an appears from' a' work the stencil sheets be formed of copper, particularly where the sheet is con siderably cut out and large runs are to be executed. In general, however, the preferred form of stencil sheet is a so-called zinc sheet,

although it, in fact, is an alloy of Zinc and antimony in suitable proportions. These sheets are SIX mils, eight mils, ten mils, and in some instances thirteen mils thlck, the

thinner sheets being used for small cuttings A skilled artisan is required to cut the stencils one who not only has the manual skill necessary, but who can determine from an inspection of the original painting whatcolors should be employed. It is first neces sar mate the number of colors, which will give the number of stencils to be made, there being a separate stencil for: each color. It is of course, not material in which order the stencils are cut, but since the colors are laid on from the lightest to the darkest and the stencils are so numbered, in practice, the stencils will be cut for the lightest colors first and consecutively through to the darkto make that determination and to esti- I est colors. Using the original painting'as a guide and following the demarking lines thereof as they appearon the proof, the artisan will cut through the proof and the Zinc sheet along these lines, thus producing cut out portions in the stencil. And this be done progressively for each'of the colors to be used, and after all have been prepared the stencils will be numbered and, preferably, colored on the back, thus indicating the will in several colors to be used and the order in which the stencils are to be used and these colors are to be applied. For the very small cut-outs, that is the fine detail work, ordinarily the thinner sheets will be employed and the cutting, will be done directly through the proof and the zinc stencil sheet. I

Where, however, the'larger cut-outs are to'be made, and it isnecessary to use the.

thicker stencilsheets, direct cut-ting cannot be so effectively employed and the stencil is prepared by an acidbath process. 7 In working this process the zinc sheet is covered with a thin layer of paraffin before'the proof is applied thereto. Using the same detail as is used in cutting tnrough thethin zinc sheets the artisan will merely cut through the proof sheet and the paraffin on the zinc sheet in demarking the boundaries of the colors for the successive stencils. This sheet is then dipped into a bath of sulphuric acid diluted with sal ammonia, which results in etching the lines of color borders upon the zinc sheet, which etching may be continued until the pieces deniarked thereby can be withdrawn directly, or the etching may be carried on only long enough to mark out the lines which may be subsequently cut. The acid bath treatment is also effective for very fine openings, as dots.

After the stencilsare severally out they must individually be rolled fiat. This rolling must be done with great care so as not to injure delicate outlines. The rolling is done for the purpose of eliminating the burr or slightly ragged lift on the reverse side of the stencil which is caused by the cutting. As above indicated, the complete list of stencils prepared in the above way are numbered consecutively from the first color to be applied to the last, and the applicationof these colors is most effectively done by putting on the lightest colors first and successively going. to the darker colors and applying the darkest color last.

Preparing the colors.

As has been already stated, it is possible in this process to use a very much larger range of colors, and to use kinds of colors which cannot be applied to printingv inks and be used in printing presses. The colors available for use inthe process comprise thirty-eight vegetable colors and fourteen chemical colors, which carry the following I names Blen dc Prusse.

Vegetable colors.

Laque noire.

Bleu Pcrsan.

Ocre jaune.

Brun Van Dick. ii'aune (1e Chrome fence. Jaune (le Chrome orange. Orange Iersan Clair. Rouge Porsnn ecarlate.

Sepia naturelle.

Torre de Sienna naturello. 'lerre de Sienna brule. Jaune (1e Chrome clair. .Taune (le Chrome moyen. Jamie lersan moyen.

3 none Persan fonc.

Jaime Persan citron. Laque Geranium. .Taune Persan clair. Rouge Persan fence. Rouge Vermillionne Clair. Laqne Carmine. Rose Tyrien. Pourpre. Outremer fonc. Bleu do Cobalt, Outremer elair. Bleu Pervenche. Vert Lumiere bleu. Bleu dOrient. Crndre bleu. Vert Vronese.

Vert Gui. Vert riclie fonc.

VertPersau clair.

Vert vegtale.

\ 'ert emeraude. Gris (le Payn.

Chemical colors.

Cartliaine.

Brun rouge N0. 6626. Essuie extra.

Vert printemps. .Taune dOr.

Gris de payne.

Beige N0. 6625.

ors used by artists, and are mixed in the same way as water colors are mixed by artists. In any case they may be darkened by the introduction of black or sepia in such quantities as are desirable. They may be lightened by mixture with plain or distilled water. In the practice of my process in addition to the use of water I mix milk into the colors to prevent froth and to settle such color as may rise, with the froth and to prevent the formation of additional froth. In general the relation of milk and waterused in the diluting fluid is ten per cent (10%) to fifty perv cent of milk to from ninety per cent to fifty per cent of water.

Also, since the colors must be applied very rapidly in order to make the process economical in practice, it is necessary to mix small quantities ,of gum arabic with the colors after they are mixed to insure the colors adhering readily to the paper. The quantity of gum arabic used'depends upon the texture of the paper used. If it has a rough, readily absorbentqsurface a relatively small amount of gum arabic will be suflicient. If the surface of the paper is smooth and shiny a considerable amount relatively of gum arabic is necessary. And if the paper employed has a greasy surface, as some art papers do have, .Imix with the colors in addition to the gum arabic, varying quantities of ox gall, which produces characteristics to the color that enable it to readily adhere to such a, greasy surface.

Applying the stencils and brushing in the colors.

must be done by skilled artisans, but.0bv i-- ously is not work requiring a very large amount of, time or labor. The principal labor element in producing reproductions of the art objects, especially inlarge editions, say from ten thousand to one hundred thousand copies, consists in the brushing in of the colors. And since each copy may haveapplied thereto'fifteen, twenty, twentyfive, thirty or even more different colors, it

v will beclear that the brushing in'of the colors'involv'es a very large. labor element in which it is essentially desirable to elimlnate so far as possible. skilled. labor and be able,

to employ common, or unskilled, workmen.

It is an essential: feature of my invention that it is possible to do this work of brush! ing in the colors with common or unskilled labor, and. that in the practice: of this part of my processthe operator isnot calledupon to. exercise'any judgmentat all, and only such-skill. as :is requisite, to apply the stencil to ,the sheet, brush quickly overthe back of the stencil with the color and remove the.

stencil-and colored sheet, and repeat the operation. And the process facilitates these operations so that they may be performer substantially automatically by common labor having very ordinary intelligence and man'- ual skill.

It is to be noted that each copy of the art object has as a base the printed proof heretof-zire' referred to. The proof sheets will be "I Ll 1 furnisheu c116 operators in blocks of a suitable number and may be placed upon holders which have either corner posts or pins at the lower left and upper right corners respectively, and which may be adjustably held upon the board for adapting themselves to sheets of dilferent sizes. The corner posts are each shaped with a vertical rightangled interior receiving opposite corners of the rectangular proof sheets. The pins are circular, of the same size as the round holes in the sl'ieets and are adapted to extend through the registering round holes 11 of a multiplicity of proof sheets, thereby holding all of them in the same relative position.

The operative having apile of proof sheets placed in registering position as above described will have a certain stencil and a cerain color to apply to all of such sheets;

The step in the ainlication of the color i will be the placingof the pile of proof sheets in registering position upon the receiving board. 'l he stencil will then be placed upon the board over the top sheet, the posts (whether it be the internal right-angled corner nosts or the 'ins extendin throu h A t; C

the holes in the stencil) will hold the stencil always in exactly the position in reference to the proof in which the stencil was when the color portions were cut out therefrom.

the operative will be provided with the color suitable for the particular stencil, in p actice a different operative and of course a. different stencil being used for each different color. Also, the operative will be provided with a brush suitable for applying color through the stencil. In general where thereis any consioerable degree of opening in the stencil, or where the openings are of considerable degree of length, brushes, such as are shown in Figs. 5 or 6, will be en1-' "Occasionally, where a stencil has only a very fine :line, a pointed brush, such as is shown 1 in Fig. "5, may be employed.

The operative will be provided with a potor receptacle containing the color which will of the brush. Also, a second receptacle such as an ordinary china plate with a liquid therein consisting of a more or less concentrated solution ofgum arabic, or insome cases of gum arabic with OK gall added, as hereinbefore pointed out. Also, either alone or in conjunction with gum arabic, the albumen of the white of an egg is frequently used. tions is to make the color quickly adherent and quick drying, thereby insuring a perfect covering of the color and avoiding liability of smearing in the laying up of the newly coloredsheets. The color will be worked into the surface the brush by moving the same about upon a color board. the color it s lf beinglrept in "ry a state as possible. @Vill to the flat, compact nature of the surface of the brush a very large amount of color can concentrated theends of the les. r

- 1.. er suliicient color has been worked into the brush the operative. will dip the brush into'the very tlllllfllll'l of liquid above described upon the plate, giving itone short movement there, and then will move the brush across the stencil back and forth to cover all openings therein. Grdinarily the entire brushing action is accomplished with one or two movements of the brush. stencil is teen lifted up, the colored sheet withdrawn, the stencil dropped'back into plu and the operation repeated.

If there is any substantial running of the color at the edges of the stencil o oenings vit will tend to overlap margins of color and render the reproduction indistinct and ineffective. lo prevent running of the colors the back of the stencil is covered with an exceedingly thin film of grease, which must be renewed frequently. Any desirable, means of muting this thin film of grease upon the heel: of the stencil may be employ but l have found that in practice tl Y vei best results are obtainable from i. perk at the rind. That squares of 1': t port: are out around the r' it side o:fsayan inch or two square-and an inch t A ,k. "the operative can use this piece of porl; as he would av brush and after each live or six brushings he will run this-piece of pork ross the underside of the stencil wherever the stencil openings occur.

By this treatment, particularly in the use of adhesive diluent applied-to the brush just before the brushing in of the color, the color is in each instance distributed in a thin and even film, which dries almost instantaneously, with the result that smearingor smudging inhandling does not take place.

All or tliestc gis of in and the mode of operation and its'a ntages have The purpose of each of these addi- The by its practice.

been quite fully pointed out in the foregoing description thereof. Extraordinary reproductions of paintings and other art subjects where color is desirable can be made These reproductions exhibit the same characteristics as hand painted .water colors. They are, however, produced by common labor and can be made in large editions, which makes it possible to sell them to the purchasing public at an infinitesimal part of the cost of drawings or paintings which are in fact hand colored.

I claim:

1. The process of reproducing pictures and representations of art objects which consists in forming a multiplicity of proofs of the art object upon sheets of paper wherein each proof has the same relation to the edges of said sheets, successively applying said proof sheets to stencil sheets of the same size as and in matching relation with said proof sheets, and, by use of the reproduced marks appearing on the proof sheets as the same are related to the colors of the art object cutting out from said stencil sheet portions thereof corresponding to distinct colors to be applied, which cut-out portions havethe same relation to the margins of the stencil sheet as do the corresponding portions of the proof, and thereafter successively applying all of said stencils to a reproduction sheet of the same size as the proof sheets and stencil sheets so that the margins of the stencils and reproduction sheets coincide, and hand brushing over the stencil sheet and upon the reproduction sheet the appropriate color for each said stencil sheet.

2'. The process of reproducing pictures and representations of art objects wherein a series of stencils are employed with open ings therein corresponding to the several distinct colors to be employed, brushing the colors successively through the openings in said stencils upon the reproduction sheet, using flat-ended brushes for that purpose, lading the brush ends with color, and applying an adhesive diluent to the brush ends just before brushing. i

3. The process of reproducing pictures and representations of art objects by the use of stencils and the brushing of distinct colors through each of said stencils wherein the stencil sheets and the reproduction sheets are formed with corresponding registering devices, successively applying the stencil sheets to a reproduction sheet, always in the same relation thereto by causing said registering devices to coincide, thereafter successively brushing in the colors through the stencil sheets, and covering the back of the stencil with a film of grease to prevent running of the color, and reapplying said film periodically during the use of the stencil.

l. The process of reproducing pictures and representations of art objects wherein a series of stencils are employed with openings therein corresponding to the several distinct colors to be employed, brushing the colors successively through the openings in said stencils upon the reproduction sheet, using fiat-ended brushes for th purpose, lading the brush ends with color, applying an adhesive diluent to the brush ends just before brushing, covering the back of the stencil with a film of grease to prevent running of the color, and reapplying said film periodically during the use of the stencil.

5. The process of reproducing pictures and representations of art objects which con sists in forming a multiplicity of proofs of the art object upon sheets of paper wherein each proof has the same relation to the edges of said sheets, successively applying of said proof sheets to stencil sheets of the same size as and in matching relation with said proof sheets, and, by use of the repro duced marks appearing on the proof sheets as the same are related to the colors of the art object, cutting out from said stencil sheets portions thereof corresponding to distinct colors to be applied, which cut-out portions have the same relation to the margins of the stencil sheet as do the corresponding portions of the proof, thereafter successively applying all of said stencils to a proof sheet with the cut-out portions of the stencil coinciding with the part of the proof to receive the color of that stencil, and hand brushing over the several stencil sheets and the exposed portions of the proof sheet with the appropriate color for each said stencil sheet.

In testimony whereof I hereunto afiix my signature.

GEORGE BUZZA. 

